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MATILDA THE MUSICAL- Teacher’s Resource Pack USING OUR RESOURCES At the RSC we see direct parallels between teaching and learning in the classroom and the way our theatre company works, making discoveries through collaborative enquiry. These resources have been inspired by the creative process of adapting and staging Matilda The Musical. Along with this Teacher’s Resource Pack, our website contains a writing resource to take students on the same creative journey as Dennis Kelly and Tim Minchin when they were writing Matilda The Musical. www.matildaschoolresources.com ABOUT THIS PACKAGE This pack supports the RSC production of Matilda The Musical, written by Dennis Kelly with music and lyrics by Tim Minchin. The lessons provided support the Ontario Curriculum (Grade 1-8, The Arts) for students who are seeing the production, and contain extension ideas to develop children’s language arts skills, as well as critical thinking. This pack was adapted to the Ontario Curriculum standards by Amanda Williams-Yeagers with The Travelling Stage (www.travellingstage.com), on behalf of Mirvish Productions and the RSC. CONTENTS Using our resources / About this package Page 1 Overview of work: Context, Summary, Expectations and Guiding Questions Lesson 1: Making the Characters Come Alive Page 4 Lesson 2: Telling the Story in Pictures Page 7 Lesson 3: Creating Characters and Making Meaning Page 9 Lesson 4: Inside the Chokey Page 12 Lesson 5: Writing in Role Page 14 Lesson 6: Changes; Interpreting the viewing of the Musical Page 16 Resources Page 18


Overview of work: Context, Summary, Expectations, Guiding Questions and Assessment Context: The lessons within this teacher’s package help to expose students to the characters and content from Matilda the Musical. Through creative role play and written reflection, students are given the opportunity to take on the role of characters from the show, and think critically about the choices made by the show’s writers. Students would benefit from exploration of lessons 1-5 prior to seeing the performance, with lesson 6 being most appropriate in connection to the actual performance of the musical.

Summary: This package contains: ● 6 three part lessons

● Suggestions for assessment (for, as and of learning as per Growing Success) ● Possible extension recommendations ● Links to the Royal Shakespeare Company Teacher Resource Site ● 7 Appendices

Expectations: Creating and Presenting: apply the creative process (see pages 19-22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories. Reflecting, Responding, and Analyzing: apply the critical analysis process (see pages 23-28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences.

Unit Guiding Questions: ● What is the author’s message in the

story of Matilda? ● What does Matilda’s character teach us about adversity? ● What are the power relationships in the story and how do they affect the

plot? ● How can the elements of drama be used to attain a deeper understanding of Matilda The Musical? ● How do sounds help to create mood and special effects? ● How do the lyrics in the songs help make meaning? ● Why do writers make changes from book to stage? What are those changes and how do they affect the story?


Package Lessons: How will assessment and instruction be organized for learning?

Approx. Duration 1 class= 60 minutes

Assessment Tools

Lesson 1 Making the Characters Come Alive Students will explore the relationship between body and character.

1-2 classes Success Criteria

Lesson 2 Telling the Story in Pictures Students will use tableaux and narration using lines from Matilda to retell elements of the story.


Lesson 3 Creating Characters and Making Meaning Students will create a new character and work with the text from “The Alphabet Song” from the musical to create a poem for their new character.

2-3 classes Descriptive Feedback Success Criteria

Lesson 4 Inside the Chokey Students will use percussion instruments, body percussion, and voice to create a soundscape that represents “The Chokey.”

1 class Soundscape Criteria; anchor chart for writing

Lesson 5 Writing in Role Students will take on the role of Matilda as they consider her choices and emotions. They will write a reflective piece to identify her thoughts and feelings.

1-2 classes Success Criteria for Writing in Role

Lesson 6 Changes Students will discuss and consider changes from text to musical.


Total Lessons

Approximately 12 classes


Lesson 1: Making the Characters Come Alive Lesson Overview: In this lesson, students will become familiar with the dramatic element of “character.” The students will consider the relationship between body and character as it relates to on stage performances.

Learning Goals: By the end of this lesson students will:

● Understand the element of character ● Understand how character affects the plot ● Understand the relationship between body expression and character

Curriculum Expectations: Element Focus: Character/Role and Relationship e.g.: • role/character: adopting the attitude/point of view of a fictional character (e.g., in dialogue and writing in role); using body language (e.g., posture, gestures, facial expression), costumes, and props appropriate to a character; varying vocal levels, tones, and ranges to support the depiction of a character • relationship: listening and responding in role to other characters in role Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analyzing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences;

Guiding Questions: ● How do certain characters present

themselves using their bodies? ● How can you show an emotion or feeling using your body? ● How can you work with others to represent a character from “Matilda”?


Mind’s On: “Who Has the Control?” Actors, directors and musicians always start a rehearsal or performance with a warm up to help them engage with the world they are about to explore and enter into. The following warm- up activity will help to bring students into to the world of Matilda The Musical.

● Begin by asking students to walk around the room at their own pace, noticing where everyone is.

● Ask them to choose one person in the room, without letting them know. ● Encourage them to keep looking at this person but not to talk to them or touch them. ● Introduce the idea that the person they have chosen is dangerous to them and that they

must stay away from them at all times as they walk around the room. ● Explain that in the world of Matilda the Head teacher of Crunchem Hall, Miss Trunchbull,

controls the school and the students by intimidating them. In fact, she is like a human bomb who might explode at any moment. As they walk around ask them to imagine that the room they are in is a classroom at Crunchem Hall and that the person they have chosen is Miss Trunchbull. They must stay away from her and try and disappear from her sight at all times. Remind students of safety parameters within the learning environment.

● Ask the students to stop walking and silently choose another person in the room. ● Explain that this person is a shield and as they walk around they must try and keep this

shield between themselves and their Miss Trunchbull. ● Explain that the shield is Matilda, who in the plot is the only student to stand up to Miss

Trunchbull. ●

Reflection: Discuss with students how it feels to be in a school controlled by a tyrant. Guiding Questions: How do you feel about Miss Trunchbull as a Headmistress? How do you feel about being “shielded” by Matilda? Action: Making the Characters Come Alive Through very detailed descriptions in his novel, Roald Dahl created brilliant three dimensional characters. Dennis Kelly has interpreted these characters for the Musical so that the actors can then bring them to life on stage each evening. The following activity will enable the students to physically understand who these characters are, how they walk, move and talk within the world they are exploring.


● Ask students to walk around the room, walking into and filling any spaces that appear. Explain that as they are walking you will call out different parts of the body (nose, head, tummy, feet etc.) and when you do, they will have to lead with that part of their body.

● Reflect with students on what type of person might move like this? If they are walking with their head leading them, how does it make them move? Are they quick? Is their body jerky or smooth? Are they nervous? Confident? What do they do for a living? Allow time for discussion and reflection.

● Ask students to think of a short line from a nursery rhyme that they know and repeat the line out loud as they continue to move, using a voice that their character might use. Is it a high or deep voice? Do they speak fast or slow?

● Invite students to find a space in the room and listen as you read a description of one of the characters from Matilda. (see Appendix 1) As they are listening, ask students to move their bodies so they physically start to become that character, thinking about how that character walks and which body part they might lead with.

● Organize students into groups of four or five and provide each group with a description of one of the characters from the character sheet in the Appendix. Invite students to highlight words in the text that they feel are the most important for describing the character.

● Ask students to create a tableaux with their group that represents their character. They will have 4 counts to get into tableaux, hold for 8 counts and then return to neutral position

in 4 counts. Students should use the words they have selected from the text in some way during the tableaux (e.g., repetition, using an echo, whole group chanting a descriptive sentence, etc.)

Consolidation: Allow students four minutes to create a tableaux of this character using all the members of the group and adding in their line of dialogue from Matilda The Musical. They can choose to say their line together or as individuals, using choral speaking techniques. Allow students to watch each short performance and give feedback. Possible Extension: Following group observations, think about what might happen in a story where these characters meet. Design the interacting tableaux or write the accompanying story.

Assessment: Student tableaux presentations can be assessed using co-created success criteria for the presentation. It should include the following elements: Success Criteria For Character Tableaux and Choral Speaking -uses levels -demonstrates connection between group members -uses expression


Lesson 2: Telling the Story in Pictures Lesson Overview: The students will retell parts of the story using tableaux and parts of the text.

Learning Goals: By the end of this lesson students will: ● Effectively retell a section of Matilda

● Use tableaux, in combination with acting performance to tell a story ● Reflect on their own and others dramatic works

Curriculum Expectations: Element Focus: role/character: (e.g.) adopting the attitude/point of view of a number of different fictional characters, dialogue Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analyzing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences; B3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms and styles from the past and present, and their social and/or community contexts.

Guiding Questions: ● How can you recreate a portion of Matilda using tableaux and script? ● What affect does narration have on performance?

Mind’s On: Tableaux Review Remind students of their previous tableaux experience and the elements of a successful tableaux:

● Connection ● Use of Levels (high, medium and low) ● Expression


Action: Telling the Story in Pictures ● Divide students into small groups of three or four. ● Provide each group with one of the story sections and ask them to tell their section of the

story using tableaux and narration. ● Explain that the tableaux will need to start with a freeze and end with a different freeze. In between the two “freeze frames” or beginning and ending tableaux they will need to act out

what happens, with one person narrating the story. ● Encourage each group to use the lines from the play they have been given to help to tell

their part of the story. Consolidation: Invite each group to perform their frozen pictures in order. Encourage them to try and perform them as one piece, with no stops between when one group starts and another finishes. Reflection: Explore with the group how this felt and whether working in this way provided any greater insights to the story. Possible Extension: Using instrumental music could enhance the performance element of this piece. Students could perform this piece without speaking and the audience could be asked to interpret and reflect on the presentation.

Assessment: Assessment for Learning: Students should be given the opportunity to perform for each other and the teacher before the final presentation to allow for the implementation of feedback. **Criteria for this assessment should be twofold; success criteria should be established to remind students of expectations for successful tableaux (from the “Mind’s On” activity). The following criteria should be co-created prior to the creative process. Success Criteria for “Telling the Story” -begins and ends with a tableaux -uses lines from the text -characters are effectively in role -there is a clearly defined narrator


Lesson 3: Creating Characters and Making Meaning Lesson Overview: Students will create a new character and work with the text from “The Alphabet Song” from the Musical to create a poem for their new character.

Learning Goals: By the end of this lesson students will: ● Begin to understand the development

of character as it relates to the story ● Create their own character in the context of the story ● Understand and apply lyrics from the musical into creative movement

Curriculum Expectations: Element Focus: Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analyzing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences; B3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms and styles from the past and present, and their social and/or community contexts.

Guiding Questions: ● How does a character’s name relate to the character traits of the

character? ● How did Tim Minchin use the letters of the alphabet in “The Alphabet Song” to create meaning? ● How can you apply your understanding of lyrics and alphabet to create poetry? How can this apply to the character you have created?

Mind’s On: Meeting New Characters Roald Dahl’s choice of names for his characters offers clues as to the type of people they are. For example, Miss Honey: is she as sweet as honey? Miss Trunchbull: is she fast or intimidating? The following activity will allow students to use the simplest of techniques to think about names and new characters, starting with something everyone has and can identify with: their own name. Divide the group into pairs of students and ask them to walk around the room. As they walk, invite them to share one piece of information about their name with their pair. This could be something as simple as ‘I’ve never liked my name because everybody shortens it’. Invite each pair to join up with another so they are in fours. Using Appendix 1, remind students of Dahl’s character names and ask them to discuss how the name Dahl has chosen for each person immediately gives an insight into their character in their groups.


Explain that they are going to create a brand new character for the story of Matilda, just as Dennis Kelly did for Matilda The Musical. Challenge them to create a name for their new character using the syllables in their own names to create a totally new one. They do not have to use every syllable, they can be selective and if they wish they can introduce other words such as ‘Fantastic’ as in ‘Fantastic Mr. Fox’. Once they have created the name, ask them to think whether the syllables they have put together look like a believable spelling. Are there any letters they would change or adjust? Invite students to think about the sound of their new name. Where is this character likely to come from? Allow each group to complete the character fact sheet in Appendix 4 for their new character, building them into a person. For further activities on developing character, visit the Character Generator and Teacher Resources on the Character page of the website at http://www.matildawritenow.org.uk/#/characters Action: Hiding Meaning Within Words Tim Minchin has written some songs for Matilda The Musical which give insights into characters’ thoughts and feelings and some songs which tell us more about a specific place and setting. He also wrote some songs which are just downright clever! This exercise will help students to explore the song Tim wrote to create the setting for Crunchem Hall.

● Ask students to move around the room at their own pace. ● Challenge them to stop when you call out a number, organizing themselves into groups of

that number with those closest to them. ● Develop this, by also calling out a letter with each number so that students have to form a group with the right number and then create that letter together using their bodies. It’s best

to mix these up rather than going in alphabetical order. ● Encourage students to form their letter twice so that they can experiment with different approaches to the task.

● Organize students into small groups of three or four and provide each one with a copy of Appendix 5: The Alphabet Song. The lyrics Tim has written for this song use all the letters of the alphabet.

● Ask students to use a highlighter to underline the letters in order ● Invite students to then stand in their groups as you read the lyrics aloud.


● Appendix 6 is a useful prompt for this. Ask them to physically create each letter as they hear them – you can choose to what extent you emphasize the letters of the alphabet or read it normally.

Consolidation: Develop this activity by inviting each group to create their own poem containing the letters of their new character’s name, using the sounds of the letters. Possible Extensions: Experiment with different approaches to the task. Consider a spoken word challenge including the character’s traits with an introduction to the character.

Assessment: The recommendation is that descriptive feedback be used for the creation of character, although depending on the task, you may wish to include a written component (extension) that would require specific writing success criteria. The poetry component using the letters of the new character’s name should be assessed using success criteria such as: -poem includes letters of characters name in order -includes detailed character traits -makes sense; gives reader a solid understanding of character *This would be dependent on the age level/readiness of your students and should be varied accordingly.


Lesson 4: Inside the Chokey Lesson Overview: Students will use voice, percussion instruments and body percussion to create a soundscape that represents “The Chokey.”

Learning Goals: By the end of this lesson students will: ● Identify sounds that connect to the

setting in the story ● Use sounds to create a powerful setting ● Reflect on their own personal experience inside “The Chokey”

Curriculum Expectations: Element Focus: Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analyzing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences; B3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms and styles from the past and present, and their social and/or community contexts.

Guiding Questions: ● How does descriptive language affect our understanding? ● How do sounds shape imagery? ● What sounds can you connect to your

idea or interpretation of what “The Chokey” in Matilda is like? ● How does hearing these sounds make you feel? ● What affect does a soundscape have on imagery or setting?

Mind’s On: Introduction to the Soundscape In a circle, ask all participants to close their eyes as you read out the description of the Chokey in Appendix 6. Ask students to think about how it might feel to be inside the Chokey, asking ‘What sounds did you hear?’ ‘What other noises might you hear if you were inside the Chokey?’ Encourage them to include those that might be inside their own head or body.


Read through the description again and encourage individuals to make sounds at the appropriate moments as you read to try and create the atmosphere they imagined. Action:

● Divide the class into two groups. ● Provide each group with a copy of the description and a selection of percussion instruments.

● Ask both groups to prepare a soundscape using their voices and the instruments that helps to create the inside of the Chokey. They can also use body percussion.

● Invite Group 1 to stand still in a space with their eyes closed as Group 2 acts out their soundscape around them. Encourage the sound-scapers to walk amongst the other group but not to touch them.

● You, or a student, might want to read the description aloud during the soundscape performance as this will help Group 1 to stay focused.

● Ask the groups to swap over so that Group 2 can also experience being ‘inside the Chokey’. Consolidation: Tell students to write an immediate diary entry about this part of their day at school and how it felt to be locked inside the Chokey. Reflection Prompt: What did they do to get put inside there? Was it justified and what are they going to do now they have been inside? Possible Extension: Have students volunteer to share some of their writing.

Assessment: Engage in dialogue with students and have them identify elements of an effective soundscape. As the focus of this lesson is primarily reflective, educators should use this lesson as an opportunity to enhance students’ written output through the use of creating a realistic experience. Inviting volunteers to share their writing may allow for the opportunity to co-create an anchor chart entitled, “What Makes an Effective Diary Reflection?” that should be posted and continue to be built upon as students move into the next writing in role lesson.


Lesson 5: Writing in Role Lesson Overview: Students will draw on their previous in role experience and write in role as Matilda (or another character of their choice from the story).


● Take on the role of Matilda or another character from the text ● Consider the thoughts and feelings of Matilda in a specific circumstance ● Reflect on choices made by Matilda and develop empathy related to her character

Curriculum Expectations: Element Focus: Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analysing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences; B3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms and styles from the past and present, and their social and/or community contexts.

Guiding Questions: ● How would you feel if you were Matilda? ● Can you think of a similar situation in

your life when you have felt this way? How has that experience helped you to understand the way that Matilda is feeling in this circumstance? ● Describe the power relationship in this situation: Who has the power? Why is that important?

● Can you think of another circumstance where there was a similar power struggle? ● How do experiences like this shape a person’s character?

Mind’s On: Sharing Writing in Role Invite students to sit in a sharing circle with their writing from the previous day. Invite students to share some of their writing in role from their experience being the Chokey. You may want to take this opportunity to discuss the use of voice in written work.


Action: You are Matilda! ● Ask students to imagine that they are Matilda at a specific moment in the story - she is

very angry and is imagining things that she could do to Miss Trunchbull. ● Invite them to find a place in the room where they can stand. They should imagine that this is a space that they, as Matilda, are used to and that they go there every day.

● Ask them to imagine that they are in the classroom, standing by their desks. ● Read out the narrated action in Appendix 7 and encourage participants to act out what is

being described, doing the things that Matilda would do. ● Ask students to return to their writing area without talking to anybody else as soon as the

narration has finished. Consolidation: Imagining that they are Matilda or one of the other children in the class who observed this incident, they should write ‘in role’ what that person would write in his/her diary after the events. As they write, prompt students with questions: How does the person feel? What does s/he think s/he has seen? What will s/he do about the experience s/he has had?

Assessment: Co-create success criteria for writing in role piece with opportunities for descriptive feedback and editing before final submission of work. Consider peer feedback as an option also.


Lesson 6: Changes; Interpreting the viewing of the Musical Lesson Overview: Students will consider the writer’s decisions in the creation of Matilda The Musical and reflect on the changes made by the writers.


● Discuss the impact of changes from text to stage ● Understand the role of a writer ● Think critically about how changes affected the story after watching the

Musical Curriculum Expectations: B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process drama, using the elements and conventions of drama to communicate feelings, ideas, and stories; B2. Reflecting, Responding, and Analysing: apply the critical analysis process (see pages 23–28) to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences; B3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms and styles from the past and present, and their social and/or community contexts.

Guiding Questions: ● Why do writers make changes to original texts? ● How do the changes affect the story? ● What is the significance of a live audience?

Mind’s On: The Writer’s Challenge Review “The Writer’s Challenge” on the Royal Shakespeare Company Website at http://www.matildawritenow.org.uk/#/writers-challenge Be sure to watch each tab, including, “Creating Matilda,” “The Biggest Challenge,” “Where do you Start,” and “What Did You Leave out?” Discuss with students after each clip the significance of the writer’s thoughts and reflections.


Action: Changes In the films on the Writers Challenge page of this website, Dennis Kelly and Tim Minchin talk about the process of adapting and creating Matilda The Musical, how they changed the structure of story and introduced new characters to create a narrative for a live audience. As your students watch the performance of Matilda The Musical ask them to notice who the new characters are and what changes have been made in the narrative. You can then follow this up after seeing the production with specific questions such as:

● Why do they think Mrs Wormwood dances rather than plays bingo? ● Three new main characters have been created along with a whole host of members of the Russian Mafia. Can they name the characters and say what they think each of them brings

to the story? Do they make it more dramatic? Do they help us understand to other characters? ● A whole new story has been created around Miss Honey. Were they surprised by this? Did

it help us to empathise with her character more, did it create drama in the play? How did it make them feel as a member of the audience?

Consolidation: After seeing the Musical, invite students to create another retell using the dramatic structures they have become familiar with (tableaux, choral speaking, narration, etc.)

Assessment: Use success criteria for story telling from above or co-create new success criteria based on readiness of students at this point in the lessons.


RESOURCES

APPENDIX 1: CHARACTER SHEET

Descriptions taken from Matilda by Roald Dahl © [pub. Puffin 2001] Character dialogue from Matilda The Musical – Dennis Kelly 2012

Matilda –“You mustn’t let a little thing like little stop you” ‘Extra-ordinary, sensitive and brilliant – her mind was so nimble and she was so quick to learn. By the time she was three, she had taught herself to read by studying newspapers and magazines that lay around the house.’

Mr. Wormwood –“If you knew the deal I’m pulling off at work, you’d soon see clever...” ‘A small ratty-looking man whose front teeth stuck out underneath a thin ratty moustache. He liked to wear jackets with large brightly coloured checks and he sported ties that were usually yellow or pale green. Gormless and wrapped up in his own silly little life; he is a dealer in second-hand cars who does pretty well at it although he has some very dishonest tactics.’

Mrs Wormwood –“Looks is more important than books” ‘A large woman whose hair was dyed platinum blonde except where you could see the mousy-brown bits growing out from the roots. She wore heavy make-up and she had one of those unfortunate bulging figures where the flesh appears to be strapped in all around the body to prevent it from falling out. She is glued to the TV screen most of the time which leaves her so exhausted both physically and emotionally that she never has enough energy to cook an evening meal so she usually gave her family TV dinners or fish and chips.’

Miss Honey –“Bad times don’t last forever” ‘Not more than twenty-three or twenty-four. She had a lovely pale oval Madonna face with blue eyes and her hair was light-brown. Her body was so slim and fragile one got the feeling that if she fell over she would smash into a thousand pieces, like a porcelain figure. A mild and quiet person who never raised her voice and was seldom seen to smile, but there is no doubt she possessed that rare gift for being adored by every small child under her care. Some curious warmth that was almost tangible shone out of Miss Honey’s face when she spoke to a confused and homesick newcomer to the class.’ Miss Trunchbull –“Children are maggots!” ‘A formidable middle-aged lady. A gigantic holy terror, a fierce tyrannical monster who frightened the life out of pupils and teachers alike. She had an obstinate chin, a cruel mouth and small arrogant eyes. When she marched – Miss Trunchbull never walked, she always marched like a storm-trooper with long strides and arms swinging– when she marched along a corridor you could actually hear her snorting as she went. She had once been a famous athlete, and even now the muscles were still clearly in evidence. There was an aura of menace about her even at a distance, and when she came up close you could almost feel the dangerous heat radiating from her as from a red-hot rod of metal.’


APPENDIX 2: TELLING THE STORY IN PICTURES

Text taken from Matilda by Roald Dahl © [pub. Puffin 2001] 1. A girl is born to stupid, lazy and dishonest parents who don’t want her – she is called Matilda - ‘dinners don’t microwave themselves you know’ - ‘the child is clearly an idiot’ - ‘telly is better than books’ 2. Matilda discovers that she loves reading and can escape her unhappy family life by entering the fantasy worlds of books - ‘I really love Dickens. Mr Pickwick makes me laugh’ - ‘your stupid books and your stupid reading’ - ‘the sooner you’re locked up in school the better’ 3. Matilda’s parents are very mean to her so she plays tricks on them to cheer herself up – she’s too clever for them and never gets caught - ‘a man’s hair is his greatest asset’ - ‘Your.....hair! It’s... it’s.... green!’ - ‘Maybe you used some of mummy’s peroxide by mistake?’ 4. On Matilda’s first day at school, she meets her lovely teacher Miss Honey who sees how clever the girl is - ‘How about this: two times four hundred and eighty seven, if you took your time do you think you could-’ - ‘Nine hundred and seventy four’ - ‘My, my that is good’


5. Matilda and her friends meet the terrifying headmistress of the school – Miss Trunchbull who puts children into a horrifying torture chamber - ‘Quiet you maggots!’ - ‘To teach the child, we must first break the child.’ - ‘You ought to be in prison, in the deepest, dankest, darkest prison!’ 6. Matilda discovers that if she concentrates really hard, she can make things move with just her eyes - ‘Tip it....tip it over!’ - ‘I moved it with my eyes’ - ‘I think it’s something to do with that incredible mind of yours’ 7. Matilda discovers that her lovely teacher Miss Honey has been treated terribly by the cruel headmistress Miss Trunchbull for many years - ‘My father was a wonderful man. Magnus was his name. Magnificent Magnus I used to call him.’ - ‘She was so cruel to you. Miss Honey, your aunt’s a murderer! She did him in!’ - ‘All the grown-ups in this town think she’s wonderful. They would never believe such a thing of her.’ 8. Matilda uses magic to write something on the blackboard for the evil Miss Trunchbull which scares the headmistress and makes her run away forever - ‘The chalk! Look, the chalk, it’s moving!’ - ‘No-one’s doing anything!’ - ‘Run, Agatha, now. Or I will get you – like you got me!’ 9. Matilda’s parents run off to Spain and so the girl and the lovely Miss Honey live together happily - ‘Quick, in the car!’ - ‘What about the girl? Do you want to stay? Here with Miss Honey?’ - ‘Yes! Yes I do!’


APPENDIX 3: CHARACTER FACTS

Name: Age:

Height:

Job: Distinguishing Facial Features: Body Type: Last Seen Wearing: Often Heard Saying: Likes: Dislikes: Other Relevant Information:


APPENDIX 4: HIDING MEANINGS WITHIN WORDS

VERSION 1

‘Big Kids – Alphabet Song’ written by Tim Minchin for Matilda The Musical © Royal Shakespeare Company 2010.

So you think you’re Able to survive this mess by Being a prince or princess but you will soon See there’s no escaping tragedy And even if you put in heaps of Effort, you’re just wasting energy Cos your life as you know it is ancient history I have suffered in this gaol Have been trapped inside this Cage for ages This living ‘ell But if I try I can remember Back before my life had ended Before my happy days were over Before I first heard the Pealing of the bell Like you I was curious So innocent, I asked a thousand questions, But unless you want to suffer, Listen up and I will teach you a thing or two You listen here, my dear, you’ll be punished so Severely if you step out of line and if you cry it will be Double, you should stay out of trouble, And remember to be extremely careful Why Why? Did you hear what she said? Just you wait for Phys-Ed


APPENDIX 5: HIDING MEANINGS WITHIN WORDS VERSION 2

‘Big Kids – Alphabet Song’ written by Tim Minchin for Matilda The Musical

© Royal Shakespeare Company 2010.

So you think you’re A Able to survive this mess by B Being a prince or princess but you will soon C See there’s no escaping tragedy D E And even if you put in heaps of F Effort, you’re just wasting energy G

Cos your life as you know it is H ancient history I I have suffered in this gaol J

Have been trapped inside this K Cage for ages

This living ‘ell L But if I try I can remember M Back before my life had ended N Before my happy days were over O Before I first heard the

P Pealing of the bell Q Like you I was curious

So innocent, I asked a thousand questions, R S But unless you want to suffer,

Listen up and I will teach you a thing or two T U You listen here, my dear, you’ll be punished so V Severely if you step out of line and if you cry it will be W Double, you should stay out of trouble,

And remember to be extremely careful X Why? Y Why? Did you hear what she said? Just you wait for Phys-Ed Z


APPENDIX 6: INSIDE THE CHOKEY The Chokey is a very tall but very narrow cupboard. When you get locked up in there, you have to stand more or less at attention all the time. The floor is only ten inches square so you can’t sit down or squat in it. You have to stand. And three of the walls are made of cement with bits of broken glass sticking out all over, so you can’t lean against them. You can’t lean against the door as it’s got thousands of sharp, spiky nails sticking out of it – they’ve been hammered through from the outside. It’s terrible. It’s pitch dark and you must stand up dead straight - if you wobble at all you get spiked either by the glass on the walls or the nails on the door – you’ll be spiked and cut all over when you come out or babbling like an idiot – off your rocker! It’s absolute torture! Text extracts taken from Matilda by Roald Dahl © [pub. Puffin 2001] Adapted from Hortensia’s description of The Chokey

APPENDIX 7: WRITING IN ROLE - NARRATED ACTION In the classroom everyone stood stock still, frozen with fear, but Matilda was beginning to see red, she shook with fury as she remembered Miss Trunchbull’s poisonous accusations. How she hated her. She imagined herself escaping, getting out of her desk, standing tall, turning on her heel, walking to the classroom door, turning its handle, wrenching it open, slamming it shut with all her might and running, running as fast and as far away as possible. Then she wished she was very small, shrinking to the size of a mouse which could dodge through desks, chairs, children’s legs, climbing the curtains, skittering along the skirting boards, hiding in the lunch boxes and stuffing its face with ham sandwiches, crisps and biscuits, creating chaos before making a brilliant escape. She thought about the glass with the newt in it sitting on the desk, she imagined herself standing, marching through the rows of desks to Miss Trunchbull, reaching up with both hands, grabbing the glass and tipping the contents newt and all over the Trunchbull’s head. She trembled to think what Trunchbull would do to her if she did that but she was also angry and getting angrier and angrier, so unbearably angry that something was bound to explode inside her very soon. How dare they expel her for something she hadn’t done? Gripping her desk for support Matilda pushed herself into a standing position, looked the apoplectic Miss Trunchbull straight in the face and screamed ‘I did not do it; I’m telling you I did not do it!’ But The Trunchbull wasn’t listening she was ranting like a maniac. Matilda looked again at the newt in the glass and then a most extraordinary and peculiar feeling began to creep over her, mostly in her eyes, she blinked several times and rubbed them, then stared hard at the glass, a kind of electricity seemed to be gathering inside them. Little waves of lightning seemed to be flashing out them. She whispered the words ‘Tip it, tip it over’. The glass slowly teetered then fell with a sharp tinkle onto the desk top. The water in it and the squirming newt splashing out all over Miss Trunchbull’s enormous bosom.


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